'Subliminal Sandwich' von 1996 war das fünfte Album der britischen Trip-Hop-Band Meat Beat Manifesto, gegründet von Jack Dangers und Jonny Stephens. Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint das Album nun erstmals wieder auf Vinyl.
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'Satyricon' von 1992 war das vierte Album des britischen Trip-Hop-Duos Meat Beat Manifesto um Jack Dangers und Jonny Stephens. Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint das Album nun erstmals wieder auf Vinyl.
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The new Ripen series was inspired by the live, percussive & soulful dance releases from Salsoul records and a curiosity of what Roy Ayers would sound like with a 303 in the band.
All the sounds including string quartet, horns, choir, percussion, flute spoken word, drums and synths were recorded in Sampology’s studio on the south side of Brisbane, Australia.
The 12” EP includes four songs + extra DJ tool creating a lush and live environment, bringing his previous nature themes further onto the dancefloor.
‘Spirits Ripened’ featuring NMMWL is a spoken word and string arrangement, a pause between kick drums and congas on the remainder of the release.
The second 12” volume of Ripen series set to release in the second half of 2025.
Tommaso Cappellato, the visionary behind Domanda Music and a respected figure in global jazz, leads Explorare - an ever-evolving ensemble of LA's finest jazz virtuosos. Launched in early 2022, Explorare's mission is to delve into music's rich landscape through improvisational performances, where persistent grooves are shaped by the unique vibes of the individual members in the present moment.
Their self-titled debut album, "Explorare" drops on October 13, 2023, on the homonymous record label Explorare, featuring pianist Diego Gaeta (Andre3000, Carlos Niño) and bassist Tony Martin (Brainstory). Explorare is more than just a musical project - it embodies the spirit of musical community through a transformative journey that invites listeners to delve into the depths of sonic exploration, guided by carefully crafted energy and passion.
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Vinz Giaimis comes from southern Italy, a former dj who, during his years of activity found inspiration in New Wave, Disco, Electronic and Kosmische Musik. He describes his musical experience as a journey between experimentation and psychedelic anarchy. In his first EP for the German label Climax! Electronic and Krautrock are blended in a organic and fluid way which leave the listner defenceless inside an unpredictable and multifaceted sound cage.
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Als die Melodic-Rock-Supergroup W.E.T. 2009 ihr selbstbetiteltes Debütalbum veröffentlichte, war nicht abzusehen, dass sie auch 15 Jahre später
noch Platten machen würden.
Doch das Dreiergespann, bestehend aus Sänger Jeff Scott Soto (Talisman, Journey, Axel Rudi Pell, Malmsteen), Erik Mårtensson (Eclipse) an Gitarre,
Bass und Keyboards und ergänzt durch Gitarrist Robert Säll (Work of Art), meldet sich mit seinem fünften Studioalbum zurück.
Das Album mit dem Titel „APEX“ ist ein kühnes Statement für die Zuversicht der Band, ihr bisher bestes Werk abgeliefert zu haben. Elf Tracks voller
großer Refrains und eingängiger Melodien, serviert auf einem Tablett voller sanfter Härte.
Das neue Album Rarely Do I Dream wurzelt in Liebe und Kindheitserinnerungen und ist ein Triumph amerikanischer Gothic-Phantasie - wo sich die
Unschuld aus dem Märchenbuch in einer radioaktiven Welle aus jugendlichen Driftern, drogensüchtigen Strippenziehern und Folklore der alten Welt
auflöst.
Trevor Powers' einzigartige Stimme, die zwischen treibender Electronica und halluzinatorischen Rocksongs hin- und herpendelt, leuchtet stets wie ein
neonfarbenes Straßenschild, das nach Hause weist.
Trevor Powers kehrte 2023 mit der Veröffentlichung seines vierten Albums „Heaven Is a Junkyard“ zu Youth Lagoon zurück, das unter anderem von
Pitchfork als „Best New Music“ gelobt wurde. Mit "Rarely Do I Dream" erscheint im februar endlich der Nachfolger.
Crush of Souls is the musical endeavour of Charles Rowell (Crocodiles, Flowers of Evil, Issue). One foot in early Industrial and the other in 80’s Synth-Pop, Crush Of Souls hold the whip and demand that you submit your soul.
Returning once again to Catacomb Soul studios where he had recently finished recording “(A)Void Love”, Charles Rowell mapped out the next chapter for Crush of Souls, limitations were set in place while new faces appeared to lend a fresh coat of black magic to the album.
The album is a love letter to Paris; all of its beauty and decay. “Lézire” which is a slang mixture of the French words for Lizard and Desire provides a sinister title to an album full of hard hitting, romantic songs.
Harry Howard (These Immortal Souls) provides his signature snarl and profound lyrics to the haunting ballad “You Rose Up”. Long time sax player Stanislas de Miscault colors the dark corners of the record with his unhinged personality and one half of new look COS, Stevan Dinet bangs both the martial beats and the Fairlight sample pads.
An album cover full of chains and S&M can provide enough of an explanation as to the new direction of Crush of Souls. Cronenberg’s “Crash”, David Lynch’s “Lost Highway”, Psychic TV and Sisters Of Mercy are constantly mentioned.
Desire is an electronic music band from Montreal and Portland, Oregon. Their debut album, II, was originally released in June 2009 on the Italians Do It Better label. The band is made up of vocalist Megan Louise, producer Johnny Jewel (also a member of the IDIB bands Chromatics and Glass Candy) and Nat Walker (also a member of Chromatics) on synthesizer and drums.
Die französischen Pop.-Connaisseure aus Paris, LA FEMME, veröffentlichen ihr zweites Album ,Mystère".
Die Band hat die kulturelle Landschaft des modernen Paris massiv beeinflusst und ihre Musik an beiden Seiten der Stadt an der Seine verortet: im Glamour und an den weniger glamourösen Schauplätzen. Seit der Veröffentlichung ihres Debüts ,Psycho Tropical Berlin" haben LA FEMME prominente Bewunderer gesammelt: darunter die Regisseure Jacques Audiard und Romain Gavras, Legenden wie JEAN MICHEL JARRE und Hedi Slimane sowie eine stetig wachsende junge Fangemeinde, die ihnen den Titel ,French Best New Band of the Year" bei den französischen Music Awards und Plätze ganz oben in den französischen Charts einbrachte; dazu sorgten TV-Werbespots von Aplles, Renault und Sonos mit der Musik von LA FEMME für gespitzte Ohren.
Die Band kehrt mit einem psychedelischeren Sound und einer ganzen Reihe von Gastsängerinnen zurück, die eine Schneise durch die härtesten Elektrobeats schlagen. LA FEMME feiern ihre wunderbare Heimatstadt und hinterfragen das Ver- und Entlieben. ,Mystère" ist tatsächlich eine Kollektion von Kurzgeschichten über Liebe und Verlust. Jeder einzelnen Song überspringt Sprachbarrieren durch reine Melodie. Der retrofuturistische Surfpop-Sound der Band beruft sich noch immer auf den gleichen glamourös-punkigen Krach wie zuvor, doch dieses Mal ist er durchzogen von einer Zusammenstellung eleganter Einflüsse zwischen ENNIO MORRICONE, dem Disco-Rock von MARIE ET LES GARCONS und THE VELVET UNDERGROUND.
,Mystère" ist ein Fundament für die neue LA FEMME Vorliebe für orientalische Klänge; türkischen Disco, Tuareg Blues, mittelalterliche Psychedelia lehnen sich an an BRIAN ENO und PINK FLOYD.
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Sababa 5 sharpens their euphoric Middle Eastern psych sound into an infectious four-track EP, featuring vocal revelation Shiran Tzfira, recorded here for the very first time. Together they reinterpret the traditional Yemenite songs of Shiran’s childhood into modern and irresistible blends of disco, funk, boogie, pop, and rock.
Tel Aviv based four-piece Sababa 5 is a supergroup of musicians from the local scene, steeped in psych rock, funk, the traditional Yemenite music that gave birth to popular Mizrahi Israeli music, and traditions from across the Mediterranean and the Middle East that have long blended into one another. Between them, they have played with everyone from the Hoodna Orchestra, Tigris, and Kutiman Orchestra to widely known vocalists such as Gili Yalo, Ester Rada, and Liraz Charhi.
Sababa 5’s catchy instrumentals and popular songs such as “Tokyo Midnight” have gained attention from the likes of BBC 6 Radio Music’s Gilles Peterson, Cerys Mathews, and Gideon Coe, Rashad “Ringo” Smith, and France’s leading purveyor of alternative sounds, Radio Nova.
Growing up in a traditional Yemenite Jewish household, Shiran Tzfira was heavily influenced by both the Jewish and Arabic traditional songs that play a major role in Yemenite culture. But her soulful, soft, yet powerful voice betrays a love of not only singers of Yemenite heritage, such as Ofra Haza and Balqees but also Western artists such as Stevie Wonder and Erykah Badu. Subsequently, Shiran has gained many fans in the Arab world, especially in Yemen, where she has been dubbed the Israeli Balqees”.
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Twisted Records is delighted to announce a different kind of collaborative mini album by two musicians highly esteemed for decades in the electronic music scene, Simon Posford and Raja Ram.
‘Improvisations for Piano & Flute’ is, as the title suggests, a series of fully improvised compositions by the two legendary musicians. The 44-minute flow of this album is more contemplative and analog in nature than anything in the pair’s previous output in their three decades of collaborative work, yet equally mesmerising and consciousness-expanding.
In the early 1990s, Simon Posford was working as an engineer at Butterfly Studios when he first met Raja Ram, an Australian conservatory-trained jazz flautist who had been in the 60s/70s band Quintessence and who was at the time of their meeting part of the electronic music group known as The Infinity Project. After collaborating on many of the latter band’s productions, Posford and Raj (as he is affectionately known) in 1996 created the first track under the project name Shpongle, Rumours of Vapours.
Less dance-focused and more atmospheric than their previous electronica tracks, this was the first of many creations under the Shpongle moniker, included on their now iconic first album Are You Shpongled? in 1998. Since then, they have produced six albums and performed elaborate live sets with an 17-member band around the world, including three sold-out shows at the iconic Red Rocks theatre in Colorado and three sold-out appearances at The Roundhouse in London.
This album is a significant departure from their usual output in its focus on the interplay of Raj’s lyrical flute playing and Simon’s noodling at the piano, with almost imperceptible synthesized atmospheric support that seamlessly unites analog and digital realities.
These improvisations were recorded in Posford’s living room instead of the usual studio because the musicians found that it provided more of the desired ambience. With a synthesizer placed atop an antique Bluthner piano, either Raj or Simon would begin playing and the other would join in - nothing prepared, decided, or arranged: just live, in-the-moment inspiration. This spontaneity infuses each track with such magnetic energy that the listener is inevitably drawn into each note, phrase, and piece.
The whole album is supremely chill and introspective, with a grand arc to the storyline of 8 tracks that Shpongle fans will recognize from the dynamic duo’s internationally prized discography.
‘Improvisations for Piano & Flute’ is a salve for the soul, providing an atmospheric antidote to the relentless stress and fast pace of our increasingly complex world - a great way to kick back, tune in, and refresh.
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‘The Night of the Stars’ is the fantastic sixth album from Swedish dream pop favorites AZURE BLUE. The album pushes the quality to its peak, exhibiting a richer, clearer, and more luxurious approach to the patented AZURE BLUE sound across ten enticing tracks. Three of the songs generated significant buzz when released as singles. Album opener ‘Rise’ is a shimmering track with a rushing drumbeat topped by luxurious layers of analog synths and a Peter Hook-like bass. The song is a dream pop anthem featuring a timeless chorus and vocal harmonies from AZURE BLUE’s long time companion The Land Below.
The crystal-clear topline in ‘Three Times The Drama’ shines over electric guitars and analog synths to create an immediate pop song with great summer hit potential. The song is also a bittersweet dedication to Tobias Isaksson’s mother, who recently passed away, and its completion provided comfort following a period of unspeakable grief. The album also includes ‘Define Your Dreams’—a bright flare first previewed during the dark days of the pandemic with massive synth walls and lyrics that suggest that while difficult times have passed, more difficult ones may be coming. ‘Visions and Themes’ will have its premiere on October 25 when it is released as the fourth single from the album, while the remaining six tracks provide even further evidence of the brilliance of one of Sweden’s most internationally acclaimed indie artists.
Mixed by Tobias Isaksson and Ollie Olson. Mastered by Håkan Åkesson at Nutidstudio.
Artwork by Alexander Palmestål. Design by James Tassos and Steve Lippert.
Mit Rausch Against the Machine kehren Schmutzki zu ihrer Brutstätte zurück: Die verregneten und mit Licht verklebten Straßen ihrer Stadt, wo sie einst in jenem verschimmelten Bunker die ersten 3 1/2 Akkorde in den feuchten Stahlbeton rotzten. Doch vieles hat sich geändert: Gute Freunde sind fort, die alte Liebe fast vergessen und von den damals grandiosen Nächten nur noch Schemen übrig. Sind wir erwachsen geworden_? Schmutzki stemmen sich mit aller Kraft und diesem Album dagegen! Sie beschwören die alten Geister und reanimieren die Nacht und den guten, alten Wahnsinn. Und plötzlich ist alles wieder da: Der Rausch, die Liebe und die alte Gang, die heute alles in Schutt und Asche legen wird. So wie früher. Aber diesmal für immer!
When Alex Stephens (A.K.A. Strawberry Guy) self-released his debut single last year, he was merely doing it out of a love for songwriting. What he wasn't expecting was a million Youtube streams and an avid fanbase. Now, the South-Wales born, Liverpool-based songwriter is ready to release a full EP of his compelling, lushly produced dream-pop.
Born outside Cardiff, Strawberry Guy moved to Liverpool to study music and grow as a writer. 'I knew that it was a very artistic city with all it’s creative history, it seemed like the perfect place to move to.' he says. Whether it's playing keyboards in The Orielles or just being part of the city's growing musical scene, Alex plays music for the love of music, something that heavily translates into his adept songwriting.
The intense emotional feel of the tracks he writes is down to Alex's songwriting process, recording the entire EP in his bedroom & producing it himself. 'I feel that it’s important to me to only write/record when you’re channeling some kind of emotion, so I would only work on it when I was in the right mood to do so.' He answers when asked about the isolated environment into which he put himself for the recording process.
Much of the inspiration for Alex's work comes from experience rather than other artists. 'When something significant happens to me, all I want to do is make music.' In terms of musical touchstones however, there's the obvious dream-pop contemporaries such as Beach House and Weyes Blood, coupled with great songwriters of old like Nat King Cole or Harry Nillson. Sonically, a blend of orchestral & synthesized melodies layer together to act as a platform for his heartfelt lyrics.
Opener 'Without You' is a fine example of this, a break-up song of sorts, with an infectious keyboard melody and swirling synths over which Alex contemplates whether it's even possible to find lasting love. The lyrics 'Do you really have to talk about the things you do with him? Do you really have to talk about your love?' hit particularly heavily.
Contrast this with the final track, the titular 'Taking My Time To Be', a powerful song of self-discovery. Beginning with downtempo piano and drums, the song breaks out into a saxophone and synth solo that wouldn't go amiss on a Badalamenti soundtrack. 'The song is about me learning to be comfortable with myself, but then wondering if I'll be accepted for being myself' Alex imparts. It's a fitting closer to a EP driven by emotion and experience.
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Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.
Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.
The xx unique make-up is an inadvertent second nature marriage of 2009's urban/guitar tribes, in one corner fluttering new wave indebted reverberation, in the other, plumes of post-dubstep sub-bass and figuratively, their defining core of rich R&B vocal textures. The enveloping vocal partnership of Romy and Oliver is one that would've dropped-jaws in any decade this century, and set amidst a shivering soundscape of beats and plucks, their bedroom-reared concrete-soul is being justly heralded as the UK's most original and treasured alt. pop artifact of late.
When the young South London quartet The xx burst onto the U.K. music scene with the 2009 single ''Crystalised,'' it was already evident that the group's sleek, dystopian vision of modern soul greatly belied their still tender age (all four members were in their teens at the time). And despite the group's confident cobbling together of influences as far a field as contemporary and classic R&B (Aaliyah, Bobby Womack), atmospheric post-punk (Young Marble Giants, The Cure), and U.K. dance music (dubstep, trip-hop), it was hard to consider them as anything more than the latest hype from hype-crazed U.K. journos. That being said, The xx's 2009 full-length debut is about as fully-formed as first records come, much less ones created by four teenagers. Building upon the alluring vocal partnership of co-leads Oliver Sim and Romy Madley Croft, whose wounded call and response vocals sound mature beyond their years, xx manage to craft haunting synth-fueled melancholia that exudes disillusionment, coy sexuality, and, sometimes, even innocence, all at once. All of which makes THE xx a strong, confident debut from a remarkable young group.
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It's the pair you've all been waiting for! FINALLY!
Alan Tew's Drama Suite Part II. What can we really say? Honestly? We guess the first thing that strikes you is how clean the drums are. Almost impossibly slick but dripping so, so heavy with the neck-snapping funk you'd expect from perhaps the most sought-after library funk set of them all! The cheapest on Discogs is, currently, £1300+. Now's your chance to remedy that. If you know, you know. And we think you know...
"The Rub" is a cool, low-slung heavy-funk roller with relaxed brass and alto flute phrases. Up next, "Money Runner" is another edgy funk glider, its easy-tempo moving in harmony with slinky rhythmic riffs and featuring a seemingly ad-libbed electric piano solo. Strutting along after, "White Elephant Walk" is another laconic, deeply stoned walking theme with electric piano and alto flutes. There follows a couple of brief "walking" links before the brilliantly tense "Master Plan" slowly builds. Expectancy grows to the main theme around a minute in and then a melodic theme builds slightly to the 3 minute mark before floating down gradually and elegantly to its climax. It's utterly fantastic. The smoky, after-hours "Night Watch" is a slow, cool gem featuring alto flutes and synths.
Now we're talking, "The Fence (a)" is just sensational and worth buying this album all on its own. It's likely the reason you're here, anyway. Another impossibly funky, slow and easy tempo with a bass riff to die for, dramatic guitar with gorgeous electric piano and alto flute phrases. It was sampled for "Action Satisfaction" by J5, way way back. "The Fence (b)" is a slower, more deliberate version of the previous heater, but it's no less essential. Indeed, it's absolutely jaw-drooping. Closing out this remarkable side, "Surveillance" is another horizontal masterpiece of relaxed yet dramatic jazz-funk. Vibes ad-lib in centre section and give you an idea of how Roy Ayers making library funk in the mid-late 70s might've sounded. Sensational.
Flip over for "Total Silence", a near-beatless and understated scene-setter featuring neat interplay of guitar and synthesizer themes over bass and hi-hats. The slow "Eyes" follows, a brief gem with subdued electric piano solo and a light climax. The fantastic "Drama Backcloth (1a)" is up next, a repetitive piano and bass refrain with guitar figures over the top. Its creeping crime-funk vibe was pilfered for "Outta Town Shit" by Ghostface Killah in 2006. "Drama Backcloth (1b)" is a short, subdued version without the guitar figure. "Drama Backcloth (2)" features an expectant, background marimba figure over light rhythm whilst the cool "Drama Backcloth (3)" centres around a relaxed riff and the angular "Drama Backcloth (4)" presents eerie progressions with piano interjections. It's decidedly non-rhythmic!
We're then onto 14 (!) different half-minute "Scenechanges", all jazzy and funky, some cool and dramatic, some slow and rhythmic. All ace and groove-fuelled. The aptly-titled "Final Statement" closes proceedings, a slow, pensive theme on guitar joined by cool brass and a solo trumpet to its climax.
As with all of our KPM re-issues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!
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Als sich die wahrlich einmalige Band PSYCHOTIC WALTZ 1997 auflöste, klaffte eine Lücke, die erst mit der Gründung von DEADSOUL TRIBE im Jahr 2001 wieder geschlossen werden konnte. Sänger, Flötist und Aushängeschild Devon Graves, auch als Buddy Lackey bekannt, war in der Zwischenzeit wegen einer Beziehung nach Wien gezogen, wo er dann auch geeignete Musiker für DEADSOUL TRIBE fand. Auf dem Debüt „Deadsoul Tribe“ spielte Davon Graves noch einige Instrumente selbst, aber man war bereits eine Band mit vier Mitgliedern.
Auch wenn sich der Stil in manchen Punkten von PSYCHOTIC WALTZ unterscheiden mag, ist die Zielgruppe automatisch definiert. Und sogar etwas erweitert, denn neben Metal und Prog kann man auch Einflüsse von Tool heraushören. Das sehr organisch klingende Album bekam sehr gute Kritiken und wurde von den Fans ohne Umwege angenommen. Im Anschluss spielte man auf dem Prog Power Europe Festival in Holland. Es ist erstaunlich, dass die Alben von DEADSOUL TRIBE bisher noch nicht als Vinyl veröffentlicht wurden, zumal der Katalog von PSYCHOTIC WALTZ 2024 eine neue Aufarbeitung bekommen hat (Inside Out/Sony Music). Golden Core schließen diese Lücke nun mit den ersten beiden Alben, natürlich gemastert für Vinyl und mit bedrucktem Einleger. Die LPs sind auf 300 Stück limitiert, die sicherlich schnell ausverkauft sein werden.
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That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.
Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.
Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.
“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.
Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”
That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.
Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.
Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.
“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.
Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”
Was ist ein "Boogie"? In der Umgangssprache ist es ein Tanz oder eine Gelegenheit zum Tanzen. Da es sich hier um ein Destroyer-Album handelt und nicht um den allgemeinen Sprachgebrauch, sind die Implikationen eines Titels wie "Dan's Boogie" verführerischer und gefährlicher zugleich. "Ein Boogie ist ein Täuschungsmanöver, ein Betrug, der nicht ganz funktioniert, die Bewegungen, die wir machen, wenn wir damit konfrontiert werden", erklärt Dan Bejar. "Ich denke an Spionage, Doppelagenten, die mit einem offenen Auge schlafen und die Ausgänge im Auge behalten. Aber ich denke auch an kleine Siege und Niederlagen auf der Straße und an Improvisation". Um "Dan's Boogie" aufzunehmen, musste Bejar eine Reihe von gewollten und ungewollten Hindernissen überwinden, um die Songs zu schreiben. Die Monate nach der Fertigstellung von "LABYRINTHITIS" wurden zu einem Jahr und dann zu zwei Jahren, in denen Bejar sich selbst den Neujahrsvorsatz gab, jeden Tag eine Stunde lang Klavier zu spielen. Das hat ungefähr vier Tage gedauert, aber die Songs, die Bejar als Ergebnis dieses Vorsatzes bezeichnet - darunter "Cataract Time", "Hydroplaning Off the Edge of the World", "Bologna" und "Dan's Boogie" - sind allesamt Destroyer-Songs aus dem breiten Spektrum, das Bejar und seine Mitstreiter für sich selbst geschaffen haben: Spektakuläre Pop-Epen, persönliche Piano-Balladen und schwelende Stimmungsbilder, die die Grenzen zwischen Song, Roman und Kino verschwimmen lassen, jedes voll von der Dringlichkeit eines Staatsgeheimnisses im Kopf eines gequälten Spions. Die Leadsingle "Bologna" ist der radikalste Rahmen für diese Energie, denn es ist das erste Mal, dass Bejar einen Song schreibt, in dem er sich selbst als Nebenfigur vorstellt. In der Hauptrolle ist Simone Schmidt von Fiver zu hören, deren Stimme - hart und ausdrucksstark, durchdringend durch die Düsternis der Szene - ein Sirenengesang ist, der das ganze Album durchdringt. Die Schwere ihrer Stimme ordnet "Dan's Boogie" um ein Gefühl des drohenden Untergangs herum, so wie das Versprechen einer Fatale auf das Ungewöhnliche und Ekstatische die Hauptfigur eines erotischen Thrillers zum Verhängnis wird. "Hydroplaning Off the Edge of the World" ist ein köstlicher Widerspruch, ein schwungvoller Song, der aus der Verwüstung entstand, die Bejar absichtlich mit sich selbst anrichtete. "We are now entering a new phase", intoniert Bejar und führt Schichten von Gitarren und Synthesizern ein, die die Palette erheblich verdunkeln, während er zwischen Gesang und Sprache wechselt. Der Nebel, der Bejar umgibt, wird durch die Reibung zwischen konkurrierenden Wahrheiten und Geschmäckern erhellt, etwa wenn sein Interesse an jazzigen Balladen auf das Interesse des Produzenten und Bassisten John Collins an Bands wie Led Zeppelin und Scritti Politti trifft. Als Bejar Collins erzählte, dass er an Sammy Davis Jr. dachte, entstand der Titeltrack, in dem Bejar mit fast wahnhafter Freude einen Rat Pack-Swagger vor einer verträumten Klangkulisse aus schwebenden Gitarren, üppigen Bläsern, Jazz-Drumming, spacigen Synthesizern und - vielleicht am ehesten dem Selbstverständnis Bejars entsprechend - einem klimpernden Lounge-Piano annahm. Das Herzstück von "Dan's Boogie" ist vielleicht "Cataract Time", ein achtminütiges Epos, das zu den schwersten Texten gehört, die Bejar je geschrieben hat, und eine der musikalisch komplexesten Kompositionen von Destroyer ist. Getragen von einem lässigen Groove, sind Bejars Texte verklärt, ihre Melancholie schmeckt fast widersinnig nach Hoffnung. Es ist ein intimer Song, der Destroyers übliches urbanes Fabel-Milieu gegen eine erfrischende Innerlichkeit eintauscht, aber sein beschwingter Groove lässt eine Zukunft erahnen, der Bejar und seine Band entgegenfiebern. Wo frühere Destroyer-Alben mit der Welt kämpften, tanzt "Dan's Boogie" mit ihr, und seine neun Träumereien verschmelzen zu einem einzigen langen Treiben. Dan Bejar mag die Ausgänge im Auge haben, aber er wird nicht so bald abreisen.
Was ist ein "Boogie"? In der Umgangssprache ist es ein Tanz oder eine Gelegenheit zum Tanzen. Da es sich hier um ein Destroyer-Album handelt und nicht um den allgemeinen Sprachgebrauch, sind die Implikationen eines Titels wie "Dan's Boogie" verführerischer und gefährlicher zugleich. "Ein Boogie ist ein Täuschungsmanöver, ein Betrug, der nicht ganz funktioniert, die Bewegungen, die wir machen, wenn wir damit konfrontiert werden", erklärt Dan Bejar. "Ich denke an Spionage, Doppelagenten, die mit einem offenen Auge schlafen und die Ausgänge im Auge behalten. Aber ich denke auch an kleine Siege und Niederlagen auf der Straße und an Improvisation". Um "Dan's Boogie" aufzunehmen, musste Bejar eine Reihe von gewollten und ungewollten Hindernissen überwinden, um die Songs zu schreiben. Die Monate nach der Fertigstellung von "LABYRINTHITIS" wurden zu einem Jahr und dann zu zwei Jahren, in denen Bejar sich selbst den Neujahrsvorsatz gab, jeden Tag eine Stunde lang Klavier zu spielen. Das hat ungefähr vier Tage gedauert, aber die Songs, die Bejar als Ergebnis dieses Vorsatzes bezeichnet - darunter "Cataract Time", "Hydroplaning Off the Edge of the World", "Bologna" und "Dan's Boogie" - sind allesamt Destroyer-Songs aus dem breiten Spektrum, das Bejar und seine Mitstreiter für sich selbst geschaffen haben: Spektakuläre Pop-Epen, persönliche Piano-Balladen und schwelende Stimmungsbilder, die die Grenzen zwischen Song, Roman und Kino verschwimmen lassen, jedes voll von der Dringlichkeit eines Staatsgeheimnisses im Kopf eines gequälten Spions. Die Leadsingle "Bologna" ist der radikalste Rahmen für diese Energie, denn es ist das erste Mal, dass Bejar einen Song schreibt, in dem er sich selbst als Nebenfigur vorstellt. In der Hauptrolle ist Simone Schmidt von Fiver zu hören, deren Stimme - hart und ausdrucksstark, durchdringend durch die Düsternis der Szene - ein Sirenengesang ist, der das ganze Album durchdringt. Die Schwere ihrer Stimme ordnet "Dan's Boogie" um ein Gefühl des drohenden Untergangs herum, so wie das Versprechen einer Fatale auf das Ungewöhnliche und Ekstatische die Hauptfigur eines erotischen Thrillers zum Verhängnis wird. "Hydroplaning Off the Edge of the World" ist ein köstlicher Widerspruch, ein schwungvoller Song, der aus der Verwüstung entstand, die Bejar absichtlich mit sich selbst anrichtete. "We are now entering a new phase", intoniert Bejar und führt Schichten von Gitarren und Synthesizern ein, die die Palette erheblich verdunkeln, während er zwischen Gesang und Sprache wechselt. Der Nebel, der Bejar umgibt, wird durch die Reibung zwischen konkurrierenden Wahrheiten und Geschmäckern erhellt, etwa wenn sein Interesse an jazzigen Balladen auf das Interesse des Produzenten und Bassisten John Collins an Bands wie Led Zeppelin und Scritti Politti trifft. Als Bejar Collins erzählte, dass er an Sammy Davis Jr. dachte, entstand der Titeltrack, in dem Bejar mit fast wahnhafter Freude einen Rat Pack-Swagger vor einer verträumten Klangkulisse aus schwebenden Gitarren, üppigen Bläsern, Jazz-Drumming, spacigen Synthesizern und - vielleicht am ehesten dem Selbstverständnis Bejars entsprechend - einem klimpernden Lounge-Piano annahm. Das Herzstück von "Dan's Boogie" ist vielleicht "Cataract Time", ein achtminütiges Epos, das zu den schwersten Texten gehört, die Bejar je geschrieben hat, und eine der musikalisch komplexesten Kompositionen von Destroyer ist. Getragen von einem lässigen Groove, sind Bejars Texte verklärt, ihre Melancholie schmeckt fast widersinnig nach Hoffnung. Es ist ein intimer Song, der Destroyers übliches urbanes Fabel-Milieu gegen eine erfrischende Innerlichkeit eintauscht, aber sein beschwingter Groove lässt eine Zukunft erahnen, der Bejar und seine Band entgegenfiebern. Wo frühere Destroyer-Alben mit der Welt kämpften, tanzt "Dan's Boogie" mit ihr, und seine neun Träumereien verschmelzen zu einem einzigen langen Treiben. Dan Bejar mag die Ausgänge im Auge haben, aber er wird nicht so bald abreisen.
The Swiss trio divr debuts on We Jazz on 2 February with their new album "Is This Water". divr is Philipp Eden on keys, Jonas Ruther on drums and Raphael Walser on bass, and they play largely acoustic improvisations which loops without ever quite repeating. Their music swings, but never feels like it’s doing so in response to a fixed, single pulse. The new album is mixed & post-produced by Dan Nicholls (of Y-OTIS).
“We play in multi-directional time. You could hear three different timings, but on the other hand it’s together. We land in the same place. It’s not done with maths, it’s more about entering a flow”, say the band members, based in Basel (Eden) and Zurich (Ruther, Walser), the city where they all met more than 15 years ago.
“It’s a free approach to playing time. We don’t refer to a straight metre. But play around it. We never repeat something exactly, it develops with every turn, there’s always a small difference.”
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Strut presents an exclusive reissue of Experience Unlimited"s 1977 debut album, Free Yourself, featuring a brand new interview with bandleader and co-founder "Sugar Bear. This seminal recording blends soul, jazz, and funk-rock, laying the foundation for Washington D.C."s go-go scene.
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"Friendly Fires" was the debut album from the St Albans-three piece, Ed McFarlane, Edd Gibson and Jack Savidge. Featuring hit singles "Jump In the Pool" and "Paris", it was an era-defining record. It launched the band to huge critical and commercial success, nominated for The Mercury Prize and a Brit Award. The LP is now reissued for its 15th Anniversary on silver vinyl.
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Wilurarrakutu is the brilliant debut from Papunya-based artist Keanu Nelson, an intimate exercise in musical storytelling and reflection. The album's eight tracks, sung in both Papunya Luritja and English, are verses of prose and poetry pulled directly from Nelson's notebooks and set to minimalist, DIY electronic arrangements.The evocative musical backdrops_featuring Casio keyboards, drum machines, and subtle synth flourishes_were created in collaborative sessions between Nelson and Sydney producer Yuta Matsumura. The two met by chance on Matsumura's visit to Papunya last year. Their impromptu jam sessions form the foundation for Wilurarrakutu's low-key sonic palette, influenced in parts by Papunya's strong local gospel music scene as well as the reggae beats often passed around the remote community via USB sticks and mobile phone transfers.Over these soundscapes, Nelson sings of family, friends, heritage, and culture, with a tone that balances joy and melancholy. They're themes and emotions that also echo through his work as a painter at the Papunya Tjupi Arts Centre. In this way, Wilurarrakutu becomes an extension of his art practice - a graceful audio portrait of a place that evokes the resonance of home.
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Pedro Lima was certainly the most iconic singer from Sao Tomé Island. Born in 1944, his career began at teenage, with his faithful band Os Leonenses, who were mostly members of his family and shared most of his musical life; and lasted until his death on January 31st, 2019. Until the very end, he kept performing big events all around the country, and was among the very few singers and bands from Sao Tomé & Principe that recorded in Luanda Angola for N'Gola and Merengue labels in the 70's, and in Lisbon for the essential IEFE imprint in the 80's.
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Delicate Records delves into the swamp laden depths of heartbreak; inexplicable depth, darkness and twisted beauty with a 9 track full length debut from Saffron Bloom. The Iranian-American producer and performer; already prolific as Sepehr and known for his expertly raw and freaky sound, develops this alias to indulge the silver linings of agony. An illbient force of nature drawing on industrial atmospherics, trip hop flow and unbothered breakbeat influx. The record serves as an ode to the ever changing phases of lost love and grief, seasons of emotion weathering the passage of time each with their own ferocity and relation to the evolving cycle; one so personal yet universally understood.
Intro, the infrastructure of aura laced throughout the record, builds around an ominous and evocative piano soundscape bleeding with delay, intruding barely human vocal cries and percussive injections. Dripping into the DNA of Dirge of the Lonely and Jealous Desire, there comes a yearning, cries from beyond the grave; mourning relationships lost with an eerie familiarity. This sinister sanctuary bred through low slung stripped back breaks, those that echo within the soul and tie themselves to an anchor of inconspicuous growling sub bass; a signature idiosyncrasy perfectly elevated with Saffron Bloom timbre.
Quelling the urge to disintegrate, with power through distortion and commanding drumwork, corners of the B side like Curtain Call and Apathetic Rose reiterate a primal and hypnotic sonic discourse. At the heart of the LP and the artist’s ethos, it resonates through the mind and body in a psychedelic manner while remaining powerfully minimal. Time’s Up (It’s Over) featuring. Sam Weinberg feels like a fever dream, saxophone drenched and echoing throughout your brain, while album closer Ultimate Acceptance is named perfectly. A melancholic realization, soft in nature yet rich in complexity and beauty, a bittersweet conclusion.
die erste Band von Klaus Sperling (Primal Fear, Nitrogods, Sinner) und Michael Moretto (Tyran´Pace) -nur regional veröffentlichte Aufnahmen von 1984 und 1985, erstmals auf CD & LP -qualitativ hochwertiger Heavy Metal mit 100% Achtzigerfeeling -CD/LP mit Liner Notes, Abbildungen und extrem vielen Fotos -Coverartwork von Michaela Widmayer (Manilla Road, Mark Shelton, Trance) Manchmal fällt man vom Glauben ab. Labels wie Noise, Steamhammer, Mausoleum, Earthshaker oder die GAMA Labelgruppe haben in den Achtzigern neben vielen wichtigen und guten Alben auch Durchschnitt oder Schlimmeres veröffentlicht.
Währenddessen blieb eine talentierte und mitreißende Band namens SQUADRON aus dem Raum Stuttgart (bis heute) unentdeckt. Selbst auf Encyclopedia Metallum findet man keinen Eintrag mit den zwei Demos, die man 1984 und 1985 aufgenommen hat. Noch nicht. 1983 wurde die Band gegründet, beeinflusst von Judas Priest, Iron Maiden, Warrior, Manowar, Ozzy Osbourne und Dio. Eine der ersten Shows fand im Vorprogramm von Tyrant statt. Schnell bekam man den Ruf einer gigantischen Liveband, zumal man nicht nur auf ausgefeilte Songs achtete, sondern auch auf Outfit und Show. Nur wenige Monate später kamen bereits 400 Fans in die Neckerhalle Esslingen, obwohl am gleichen Tag Accept quasi um die Ecke spielten.
Außerdem brach man den Zuschauerrekord in „Die Röhre“ Stuttgart, wo man nach dem zweiten Demo eine große Show auffuhr. Natürlich meldeten sich nun auch größere Labels, doch zu einem Vertrag kam es nicht. Nach einem Festival mit Rage, Veto und Stranger, sowie einigen Shows mit Czakan war 1987 Schluss. Michael Moretto stieg in Folge bei Kymera ein, um den zu Pink Cream 69 abgewanderten Andi Deris zu ersetzen. Klaus Sperling ist bis heute aktiv im Geschäft und seit 2011 bei den Nitrogods. Bekannt wurde er durch sein Drumming bei Primal Fear, Sinner, MP und Freedom Call. Das Material wurde in liebevoller Kleinarbeit restauriert und gemastert und ist nun erstmals auf CD und LP zu hören. Booklet und LP-Inlay enthalten Liner Notes und tonnenweise Fotos und Abbildungen. Diese Band hätte es damals weit bringen können…
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Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.
“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.
West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.
Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.
“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing
Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.
“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.
West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.
Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.
“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing
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